1. This is a view of our Bedroom, obviously a nod to Tracy Emin. Photograph: David Sillitoe for the Guardian

A photographic narrative is simply a story told with pictures, and can be journalistic (for example a photo essay), artistic and/or abstract, or simply function as entertainment.

The word narrative derives from the Latin verb narrare, to recount, and is related to the adjective gnarus, meaning knowing or skilled. Owen Flanagan of Duke University, writes: "Evidence strongly suggests that humans in all cultures come to cast their own identity in some sort of narrative form. We are inveterate storytellers."

So where does this leave this months assignment: "Your camera club mission this month is to document 24 hours of your life in six images." This is one of those briefs that initially seems quite simple, but the more you think about it, the harder it is to pin down, and to make some kind of sense of. Of course one could approach this in a simple and literal way; the 24 hours could be documented as a linear timeline, starting when one awoke, and ending with sleep.

As Lee Welton succinctly summarized on the Flickr thread, his day is simple:-

Coffee; Train; Work; Train; Dinner; Bed

Each of these could be an image, and that approach would certainly work, added to which, I'm sure Lee is being modest, there'll be more to it than that!

As an aside, there is no requirement to use the full 24-hours for this, it can be any amount of time you choose. But the temporal approach is one choice of several; an examination of place is just as valid; unless you're immobile (or choose to be), you'll certainly move around within a day. To counter that, it would be possible to tell a story, and not even leave your chair. So, if we dismiss those contrived self portraits which rarely work, what is it that we can actually make pictures of? My 6 images are were made over a morning, where I got up, did some work in my house, and watched part of a scary movie, which to a degree informed the aesthetic of the photography.

2. Photograph: David Sillitoe for the Guardian

Down to the Kitchen for breakfast, and the slight tilt in this photo gives it a disorientating feel, the knives seem to be the centre of it.

3. Photograph: David Sillitoe for the Guardian

This is a newly plastered room, the drying pattern makes it oddly abstract, and bare bulbs always look sinister to me.

4. Photograph: David Sillitoe for the Guardian

Condensation on a window always looks more graphic in black & white, here it has a dark side and a light side, which makes for an oddly beautiful image.

5. Photograph: David Sillitoe for the Guardian

The plug socket pulled away from the wall looks damaged, but in fact the wall is being re done. At f2 there's so little depth of field that most of the image (apart from the socket) isn't sharp – which adds to the oddness of it.

6. Photograph: David Sillitoe for the Guardian

My study, time for a break to catch up with a recent movie, and to think about examples of great black & white cinematography